"Satyajit Ray Film and Television Institute Satyajit Ray Film and Television Institute (SRFTI) is a film and television institute located in Kolkata, West Bengal, India. The institute was established in 1995, and registered as a Society on 18 August 1995 under the West Bengal Societies Registration Act, 1961 and currently is an autonomous society funded by Ministry of Information and Broadcasting, Govt. of India. It has been named after the acclaimed film director, Satyajit Ray. SRFTI is the premier institute of India for film training which stands inline with Film and Television Institute of India (FTII) for its quality of"
"Satyajit Ray Satyajit Ray (; 2 May 1921 – 23 April 1992) was an Indian Bengali filmmaker, screenwriter, graphic artist, music composer and author, widely regarded as one of the greatest filmmakers of the 20th century. Ray was born in Calcutta into a Bengali Pandit family which was prominent in the field of arts and literature. Starting his career as a commercial artist, Ray was drawn into independent filmmaking after meeting French filmmaker Jean Renoir and viewing Vittorio De Sica's Italian neorealist film ""Bicycle Thieves"" (1948) during a visit to London. Ray directed 36 films, including feature films, documentaries and"
"of E. M. Forster's 1924 novel, ""A Passage to India"". However, none had been started when he died in 1992. Ray received numerous awards at international film festivals and elsewhere, including several Indian National Film Awards and an honorary Academy Award at the 64th Academy Awards in 1992. Ray was awarded India's highest award in cinema, the Dadasaheb Phalke Award, in 1984 and India's highest civilian award, Bharat Ratna, in 1992. Satyajit Ray filmography Satyajit Ray (; 2 May 1921 – 23 April 1992) was an Indian filmmaker who worked prominently in Bengali cinema and who has often been regarded"
"an Indian M.P. and former actress Nargis Dutt, who accused Ray of ""exporting poverty."" She wanted him to make films to represent ""Modern India."" Satyajit Ray is a cultural icon in India and in Bengali communities worldwide. Following his death, the city of Calcutta came to a virtual standstill, as hundreds of thousands of people gathered around his house to pay their last respects. Satyajit Ray's influence has been widespread and deep in Bengali cinema; a number of Bengali directors, including Aparna Sen, Rituparno Ghosh and Gautam Ghose as well as Vishal Bhardwaj, Dibakar Banerjee, Shyam Benegal and Sujoy Ghosh"
"the most famous was ""The Apu Trilogy"" (1955–1959) from critically acclaimed Bengali film director Satyajit Ray, whose films had a profound influence on world cinema, with directors such as Akira Kurosawa, Martin Scorsese, James Ivory, Abbas Kiarostami, Elia Kazan, François Truffaut, Steven Spielberg, Carlos Saura, Jean-Luc Godard, Isao Takahata, Gregory Nava, Ira Sachs, Wes Anderson and Danny Boyle being influenced by his cinematic style. According to Michael Sragow of ""The Atlantic Monthly"", the ""youthful coming-of-age dramas that have flooded art houses since the mid-fifties owe a tremendous debt to the Apu trilogy"". Subrata Mitra's cinematographic technique of bounce lighting also"
"of the Greatest Bengali of all time. Satyajit Ray's ancestry can be traced back for at least ten generations. Ray's grandfather, Upendrakishore Ray was a writer, illustrator, philosopher, publisher, amateur astronomer and a leader of the Brahmo Samaj, a religious and social movement in nineteenth century Bengal. He also set up a printing press by the name of U. Ray and Sons, which formed a crucial backdrop to Satyajit's life. Sukumar Ray, Upendrakishore's son and father of Satyajit, was a pioneering Bengali writer of nonsense rhyme (Abol tabol) and children's literature, an illustrator and a critic. Ray was born to"
"Sukumar and Suprabha Ray in Calcutta. Satyajit Ray's family had acquired the name 'Ray'(originally 'Rai') from the Mughals. Although they were Bengali Kayasthas, the Rays were 'Vaishnavas' (worshippers of Vishnu) as against majority Bengali Kayasthas who were 'Shaktos' (worshippers of the Shakti) . Sukumar Ray died when Satyajit was barely three, and the family survived on Suprabha Ray's meager income. Ray studied at Ballygunge Government High School, Calcutta, and completed his BA in economics at Presidency College, Calcutta then affiliated with the University of Calcutta,(now Kolkata)though his interest was always in fine arts. In 1940, his mother insisted that he"
"The story of ""Bankubabur Bandhu"" itself was eventually adapted into a television film by Satyajit's son Sandip Ray alongside Kaushik Sen in 2006. Satyajit Ray penned many short stories not based on any famous characters. These stories, which used to be published as collections of twelve stories, were mostly urbane, and were very unassuming until the very last line or last paragraph where suddenly a new revelation left the reader amazed. Many of these stories dealt with the way trivial incidents change the course of one's life, while some other stories were chilling horror stories. The language of the stories"
"been shown in almost all major cities of the world. Another Bengali independent filmmaker, Ritwik Ghatak, began reaching a global audience long after his death; beginning in the 1990s, a project to restore Ghatak's films was undertaken, and international exhibitions (and subsequent DVD releases) have belatedly generated an increasingly global audience. Alongside Ray's films, Ghatak's films have also appeared in several all-time greatest film polls. A number of Satyajit Ray films appeared in the ""Sight & Sound"" Critics' Poll, including ""The Apu Trilogy"" (ranked No. 4 in 1992 if votes are combined), ""The Music Room"" (ranked No. 27 in 1992),"
"Indian New Wave. ""The Apu Trilogy"" (1955–1959, Satyajit Ray) won major prizes at all the major international film festivals and firmly established the Parallel Cinema movement. ""Pather Panchali"" (1955), the first part of the trilogy, marked Ray's entry in Indian cinema. The trilogy's influence on world cinema can be felt in the ""youthful coming-of-age dramas that flooded art houses since the mid-fifties"", which ""owe a tremendous debt to the Apu trilogy"". Cinematographer Subrata Mitra, who debuted in the trilogy, had his own important influence on cinematography globally. One of his most important techniques was bounce lighting, to recreate the effect"
"putting considerable stress in the civilian population. He relocated with family to the metropolitan mega-city of Calcutta in the early 1960s, where he received high school and university education. He was awarded a high school diploma in 1967 as a National Scholar, graduating from Ballygunge Government High School and was selected a National Science Talent Scholar in a nationwide competition. The high school had also previously graduated the internationally acclaimed Bengali film director Satyajit Ray, who along with another contemporary Bengali radical film director Ritwik Ghatak, had considerable influence on his young mind. It was in this high school, that"
"with his films earning both commercial success and critical acclaim, in India and overseas. During the formative period of Indian parallel cinema in the 1940s and 1950s, the movement was influenced by Italian cinema and French cinema, particularly by Italian neorealism as well as French poetic realism. Satyajit Ray particularly cited Italian filmmaker Vittorio De Sica's ""Bicycle Thieves"" (1948) and French filmmaker Jean Renoir's ""The River"" (1951), which he assisted, as influences on his debut film ""Pather Panchali"" (1955), alongside influences from Bengali literature and classical Indian theatre. Bimal Roy's ""Do Bigha Zamin"" (1953) was also influenced by De Sica's"
"scripting, casting, scoring, cinematography, art direction, editing and designing his own credit titles and publicity material. He developed a distinctive style of film-making based on visual lyricism and strong humanism, as in his Apu trilogy. Thus Ray established himself as an auteur of cinema. The Academy Film Archive preserved the entire Apu Trilogy in 1996, including ""Aparajito"". Aparajito Aparajito ( ""Ôporajito""; ""The Unvanquished"") is a 1956 Indian Bengali drama film written and directed by Satyajit Ray (1921–1992), and is the second part of ""The Apu Trilogy"". It is adapted from the last one-fifth of Bibhutibhushan Bannerjee's novel ""Pather Panchali"" (1929)"
"included some of the young artists, writers, scholars and critics of that time. Ray was also associated with Brahmo Samaj and wrote a poem called ""Atiter Katha"" for young readers. His works such as the collection of poems ""Abol Tabol"" (Gibberish), novella ""HaJaBaRaLa"" (The Absurdity), short story collection ""Pagla Dashu"" (Crazy Dashu) and play ""Chalachitta Chanchari"" are considered nonsense masterpieces. Father of film-maker Satyajit Ray, Sukumar Ray died of severe infectious fever, Leishmaniasis on 10 September 1923. With Soumitra Chatterjee as a narrator, the documentary begins by showcasing some of the drawings by Sukumar Ray, drawn for the children books"
"Awards as well as international acclaim. Since the late 20th century, the Bengali film industry has become smaller, overtaken by other regional industries such as Bollywood and South Indian cinema. Ever since Satyajit Ray's ""Pather Panchali"" (1955) was awarded Best Human Document at the 1956 Cannes Film Festival, Bengali films frequently appeared in international fora and film festivals for the next several decades. This allowed Bengali filmmakers to reach a global audience. The most influential among them was Satyajit Ray, whose films became successful among European, American and Asian audiences. His work subsequently had a worldwide impact, with filmmakers such"
"influence on cinematography across the world. One of his most important techniques was bounce lighting, to recreate the effect of daylight on sets. He pioneered the technique while filming ""Aparajito"" (1956), the second part of ""The Apu Trilogy"". Some of the experimental techniques which Satyajit Ray pioneered include photo-negative flashbacks and X-ray digressions while filming ""Pratidwandi"" (1972). Tollywood was the very first Hollywood-inspired name, dating back to a 1932 article in the ""American Cinematographer"" by Wilford E. Deming, an American engineer who was involved in the production of the first Indian sound film. He gave the industry the name Tollywood"
"more elite and artistically inclined than the usual musical cinema fare in India. During this period, Bengali cinema enjoyed a large, even disproportionate, representation in Indian cinema. They produced directors like Satyajit Ray, who was an Academy Honorary Award winner, and the recipient of India's and France's greatest civilian honours, the Bharat Ratna and Legion of Honor respectively, and Mrinal Sen, who is the recipient of the French distinction of Commander of the Order of Arts and Letters and the Russian Order of Friendship. Other prominent film makers in the Bengali film industry at the time included Satyajit Ray and"
"for its Durga Puja. His nickname is Ranju. He studied at the Asutosh College and later at the Syamaprasad College of the University of Calcutta. Ranjit started his career with Bengali director Mrinal Sen's film ""Interview"" (1971). He received the International Best Actor Award from Karlovy Vary for this work. He then become a popular romantic hero in the 1970s and featured in films like ""Mouchak"", ""Devi Chaudharani"", ""Raag Anuraag"", ""Sayang Siddha"". Satyajit Ray cast him in his film ""Shakha Proshakha"", where he played the role of a young man who was caught between values and tradition. Since the 1980"
"Ray in a series of Bengali science fiction books. His full name is Trilokeshwar Shonku, and by occupation, he is an inventor. A short story known as ""The Alien"" written by Satyajit Ray about an alien named ""Mr. Ang"" gained popularity among Bengalis in the early 1960s. Ray is attributed with virtually pioneering the genre of Indian Science Fiction. It is alleged that the script for Steven Spielberg's film ""E.T."" was based on a script for ""The Alien"" that Ray had sent to the film's producers in the late 1960s. Adrish Bardhan is one of the most notable names among"
"Ray Film and Television Institute for studies related to film. In 2007, the BBC declared that two ""Feluda"" stories would be made into radio programs. During the London Film Festival, a regular ""Satyajit Ray Award"" is given to a first-time feature director whose film best captures ""the artistry, compassion and humanity of Ray's vision"". Wes Anderson has claimed Ray as an influence on his work; his 2007 film, ""The Darjeeling Limited"", set in India, is dedicated to Ray. Ray also a graphic designer, designed most of his film posters, combining folk-art and calligraphy to create themes ranging from mysterious, surreal"
"later hyperlink cinema. ""Pratidwandi"" (1972) helped pioneer photo-negative flashback and X-ray digression techniques. Together with Madhabi Mukherjee, Ray was the first Indian film figure to be featured on a foreign stamp (Dominica). Iranian master filmmaker, Majid Majidi has expressed his deep admiration to Satyajit Ray. While discussing the inspirations for making his first feature film on India Beyond the Clouds (2017 film), which is a foreign land and culture for the director; Majidi expressed, ""I have learned a lot about India based on the works of remarkable Indian director Satyajit Ray so it was my dream to make a film"
"ranges from Rs.4 to Rs.15, depending on the distance covered. While Mumbai is the capital of commercial cinemas in India, Kolkata is the house of art-films. Stalwarts like Satyajit Ray, Ritwik Ghatak, Mrinal Sen are the pride of Kolkata. The biggest event of Indian cinema was the release of ""Pather Panchali"" in 1955 made by Satyajit Ray based on a novel of Bibhutibhusan Banerjee. This film connected Indian film to the rest of the world. The movie was acclaimed throughout the world specially in the Western world as a symbol of undying human spirit. Presently, Aparna Sen, Budhdhadeb Dasgupta, Gautam"
"perspective. Most films made during this period were funded by state governments to promote an authentic art genre from the Indian film fraternity. The most famous Indian ""neo-realist"" was the Bengali film director Satyajit Ray, followed by Shyam Benegal, Mrinal Sen, Adoor Gopalakrishnan, G. Aravindan and Girish Kasaravalli. Ray's most famous films were ""Pather Panchali"" (1955), ""Aparajito"" (1956) and ""The World of Apu"" (1959), which formed ""The Apu Trilogy"". Produced on a shoestring budget of Rs. 150,000 ($3000), the three films won major prizes at the Cannes, Berlin and Venice Film Festivals, and are today frequently listed among the greatest"
"first venture in this genre was with a documentary film based on Satyajit Ray's life, ""Satyajit Ray"", in 1985. This was followed by works such as ""Sardari Begum"" (1996) and ""Zubeidaa"", which was written by filmmaker and critic Khalid Mohamed. In 1985 he was a member of the jury at the 14th Moscow International Film Festival. The 1990s saw Shyam Benegal making a trilogy on Indian Muslim women, starting with ""Mammo"" (1995), ""Sardari Begum"" (1996) and ""Zubeidaa"" (2001). With ""Zubeidaa"", he entered mainstream Bollywood, as it starred top Bollywood star Karishma Kapoor and boasted music by A. R. Rahman. In"
"literary journal ""Ekshan"", edited by his close friend Nirmalya Acharya. During the mid-1990s, Ray's film essays and an anthology of short stories were also published in the West. Many of the stories have been translated into English and published. Feluda, whose real name is ""Pradosh Chandra Mitra"", is a fictional Kolkata-based private detective. He is usually accompanied by 2 sidekicks: ""Topshe"" (his cousin–""Tapesh Ranjan Mitra"") and ""Lalmohan Ganguly"", usually described as ""Lalmohan Babu"" (who himself writes with the pseudonym of ""Jatayu""), a bumbling writer of crime fiction. Satyajit Ray wrote thirty-five Feluda stories, most of which were extremely popular, and"
"in his land. His view point is very valuable to me and I love whatever he has done, so one of the main reasons behind making this film is my admiration for Satyajit Ray and his work"". Many literary works include references to Ray or his work, including Saul Bellow's ""Herzog"" and J. M. Coetzee's """". Salman Rushdie's ""Haroun and the Sea of Stories"" contains fish characters named ""Goopy"" and ""Bagha"", a tribute to Ray's fantasy film. In 1993, UC Santa Cruz established the Satyajit Ray Film and Study collection, and in 1995, the Government of India set up Satyajit"
"last days, his last message to the world ""Civilization in Crisis"" and his death at his birthplace at the age of 80 on 7 August 1941. After the Academy of Motion Picture Arts and Sciences awarded Satyajit Ray an honorary Academy Award in 1992 for his lifetime achievements, the Academy Film Archive, part of the Academy Foundation which mainly works with the objectives as ""preservation, restoration, documentation, exhibition and study of motion pictures"", took an initiative to restore and preserve Ray's films. Josef Lindner was appointed as a preservation officer and the Academy has successfully restored 19 titles. However, the"
"in 2001, Shatranj ke Khiladi in 2010, Sikkim in 2007, Teen Kanya in 1996 . Other Satyajit Ray films preserved by the Academy include the short film ""Two"" in 2006. Ray received many awards, including 32 National Film Awards by the Government of India, and awards at international film festivals. At the 11th Moscow International Film Festival in 1979, he was awarded with the Honorable Prize for the contribution to cinema. At the Berlin International Film Festival, he was one of only four filmmakers to win the Silver Bear for Best Director more than once and holds the record for"
"light ahead of it, the light of love. The Academy Film Archive preserved ""Abhijan"" in 2001. Abhijan Abhijan (""অভিযান"", The Expedition) is a 1962 Bengali film directed by the Indian filmmaker Satyajit Ray. The film gives the famous Ray flavour in its composition, flow and dialogues, and use of symbols. The protagonist Narasingh (played by Soumitra Chatterjee) was a direct influence for the character of the cynical cab driver Travis Bickle (played by Robert De Niro) in Martin Scorsese's ""Taxi Driver"" (1976). Scorsese himself has credited Satyajit Ray as a major influence on his work. Soumitra Chatterjee plays Narsingh, a"
"stories for the magazine was ""Bankubabur Bandhu"" (""Banku Babu's Friend"" or ""Mr. Banku's Friend""), a Bengali science fiction story he had written in 1962 and which gained popularity among Bengalis in the early 1960s. Ray also introduced his famous characters Feluda and Professor Shonku in short stories he wrote for ""Sandesh"". In 1963, Satyajit's aunt, the writer Leela Majumdar became the honorary joint editor of the magazine in place of Sri Mukhopadhyay. In 1963 Satyajit Ray formed a non-profit literary co-operative, Sukumar Sahitya Samavaya Samity Ltd., with some like-minded friends and relatives, and this co-operative has since been running the"
"Sukumar Ray Sukumar Ray (, ; 30 October 1887 – 10 September 1923) was a Bengali poet, story writer, playwright and editor from the Indian subcontinent, who is remembered mainly for his writings for the children. He was the son of children's story writer Upendrakishore Ray, the father of filmmaker Satyajit Ray and grandfather of filmmaker Sandip Ray. His creations such as the collection of poems ""Abol Tabol"" (Gibberish), novella ""HaJaBaRaLa"", short story collection ""Pagla Dashu"" (Crazy Dashu) and play ""Chalachittachanchari"" are considered equal in stature to ""Alice in Wonderland"". More than 80 years after his death, Ray remains one"
"of Ray's other films. Two (1964 film) Two: A Film Fable is a 1964 black-and-white short film directed by the Indian director Satyajit Ray. The film was made under the banner of Esso World Theater at the request of a non-profit American public broadcasting television, PBS. It was made as part of a trilogy of short films from India. The other two films in the trilogy featured Indian Sitar player, Pandit Ravi Shankar and a Ballet troupe from Mumbai, then known as ""Bombay"". Ray, who worked prominently for Bengali cinema, was requested to make a film in English language with"
"things in it, but it went on for too long. A critic, writing for The Guardian, said that this was ""Satyajit Ray at his least convincing"". The Observer wrote that ""perhaps it would appeal to singularly unfidgety children"". The Times observed, ""Ray is a true poet of the cinema, but he finds his poetry in everyday reality; in all-out fantasy he seems somewhat prosaic"". It was, however, a smash hit at home. Ray later wrote to Seton, ""It is extraordinary how quickly it has become part of popular culture. Really there isn't a single child who doesn't know and sing"